The Moves

Jackson and Alessandra face each other with distance between them. Alessandra runs towards Jackson and he places one hand under her rib cage, the other under the thigh of her raised leg. He extends his arms above his head, raising her and holding Alessandra in arabesque position with one leg extended behind her.

A présage not only requires significant strength and technique but also precise coordination from both dancers. Notice Jackson and Alessandra’s timing as they prepare into the présage - this connection is crucial to achieve the movement as they can only communicate silently through body awareness and muscle activation.

Featured dancers: Jackson Dwyer and Alessandra Bramante

Performed here as a pas de deux (duet), Saeka runs towards Jack in preparation and sweeps her left leg into the air at the same time as pushing off the floor with her supporting leg. She turns inwards to the right bringing both legs tight together into fifth position, left leg front, with arms in fifth position.

Jack anticipates Saeka’s movement and uses precise timing and co ordination to support her action. He guides the double rotation without force, supporting her balance and alignment, which allows her to use her own momentum and spotting.

He catches her around the waist and they end face to face.

Featured dancer: Saeka Shirai and Jackson Dwyer.

Similar to a waltz step this swaying, graceful, subtle shifting of weight from one foot to the other can be performed in various directions with corresponding arm movements.

Here Dominique and Saeka demonstrate balancés incorporated into a short combination.

Travelling in unison on a diagonal to the right they relevé ecarté to face upstage with the left leg raised. They balancé by lowering the extended left leg and lightly springing sideways onto it in a demi plié, crossing the right foot behind. They rise on the right foot, gently lifting the left foot off the ground, then fall onto the left foot again in plié. As they execute the balancé they make a half turn to the right with the arms in fourth crossed position.

They continue into a piqué fouetté into first arabesque on the right leg and repeat the balancé with a quarter turn to the right, arms in third position, before stepping into a series of chaîné turns to finish.

Notice how Dominique and Saeka pay attention to the rhythm and quality of the rise and fall motion of the balancé and how the fluidity of their arms help create a smooth, flowing quality to the movements.

Featured dancers: Dominique Larose and Saeka Shirai

Alessia extends her right sharply to the front at 45 degrees at the same time as she relevés onto pointe on her left leg, arms held in third position. She lowers into a demi plié on the left leg, bending the right knee and bringing the right foot to a sur le cou de pied position beside the inner ankle bone of the left leg.

Alessia repeats the balloné movement three times and finishes with a relevé in arabesque on her right leg.

Notice Alessia’s strength and control to execute the fast outward, inward motion of the working leg and when lowering smoothly on the supporting leg she ensures that the heel makes contact with the ground each time.

Featured dancer: Alessia Petrosino

Performed here at the barre on demi pointe, Stefano’s right foot is pointed off the ground and placed in the position sur la cou-de-pied. The right toe beats in front against the left ankle with a series of rapid little taps, using the lower part of the leg from the knee down.

The accent of the movement is in towards the supporting leg and the release out is very small.

Notice how Stefano isolates the movement below the thigh of the working leg, using his strength and control to keep the accelerated beats even and consistent.

Featured dancer: Stefano Varalta

Preparing the left leg in tendu croisè devant, Noah performs a series of brisé volé, with his arms sweeping from diagonal to diagonal in opposition.

To begin, he steps forward on the left foot into demi plié and slides the right foot front through first position, raising the leg a few inches off the floor. He springs up and slightly forward, beats the calves together with the right foot front and lands on the right foot in demi plié with the left leg front, sur la cou de pied.

Noah reverses the action, immediately sweeping the left foot backwards through first position, he springs up and slightly backward, beats the calves together, right leg front and lands on the left foot in demi plié with the right leg back sur le cou de pied, before repeating the sequence again.

Notice how Noah uses a strong brushing movement with the working leg to initiate momentum for the height of the each jump. He facilitates his movements by allowing his upper body to angle slightly forward and back, creating a continuous, fluid action.

Featured dancer: Noah Benzie-Drayton

Alessia performs a series of half turns in rapid succession moving forward in a straight line with the feet held close together in first position en pointe.

The feet alternate quickly while travelling and create a full rotation for every two steps taken.

Notice how Alessia gradually brings her arms to first position - this arm movement can be very helpful in maintaining force and gaining the necessary speed for the ‘chain’ of rotations.

Featured dancer: Alessia Petrosino

This travelling dynamic jump uses the turning motion and action of the balletic step but without the use of rotated legs in the air, giving the saut de basque here the flair of a character dance.

In preparation Kevin steps to the side on his left leg. Turning to his left he immediately brushes the right leg to the side into the air and pushes off the floor with his left leg.
He rotates twice in the air transferring the weight to the opposite leg, drawing the left leg up to knee height beside his straight right leg. He lands in plié on his right leg and takes a side step to the left to finish.

Notice how Kevin gains the necessary height for the double turn with the initial powerful brush of the working leg. To ensure a smooth transition Kevin keeps looking towards the direction of travel using a spotting action of his head.

Featured dancer: Kevin Poeung

This turning jump is often performed in series, as here. Noah takes a large step on the right foot and jumps to the left foot making a half turn to the right.

By moving backwards whilst turning, he creates the necessary momentum for the subsequent forward travelling leap. He pushes off the left foot to jump, completing the rotation in the air and allowing the straight right leg to swing forward into front splits, before landing in arabesque. The arms move from first position to first arabesque.

Notice how Noah’s wide preparation step helps build his travelling speed and by maintaining his posture throughout, he gives the movement fluidity and dynamic flight.

Featured dancer: Noah Benzie-Drayton

Standing in fifth position right foot front, arms in third position, Yu jumps up vertically, turns in the air twice with straight legs together and arms in first position. He lands in fifth position demi plié, right foot behind, arms open. Notice how the axis of his rotation is perfectly vertical and Yu lands on the same spot from which he took off from.

Featured dancer: Yu Wakizuka

An échappé is a level opening of both feet ‘escaping’ from a closed to an open position.

The actual beat is performed on the calves with both legs.

Heather begins in demi plié in fifth position right foot front. Springs into the air, opening the legs to second position and lands in second position in demi plié. She springs into the air again, beats the right leg in front of the left leg and finishes in demi plié, fifth position, right foot back.

Here, Heather immediately repeats the entire movement starting with the left foot in front, finishing with it behind.

Notice how Heather evenly distributes the weight between both feet throughout the movement providing her the stability to perform the beat using both legs equally.

Featured dancer: Heather Lehan

Performed here in succession, this step travels forward with the legs alternating and moving swiftly from fifth position to fifth position on pointe.

Starting with the right foot behind Kirica swishes the right leg out to the side, slightly lifted off the ground and relevés to pointe on the left leg, simultaneously closing the right leg to fifth position front. She immediately swishes the left leg out to the side, closes it to fifth position front and repeats the movement of switching legs staying on pointe throughout for a total of six emboîtés.

Notice how Kirica keeps both knees taut and how the quick transfers of weight from one leg to the other are precise and kept under the body line.

Featured dancer: Kirica Takahashi

A vertical jump where straight legs cross and uncross rapidly beating against each other three times on each side through a total of six positions.
Starting in fifth position right foot front, Aaron jumps up high, half opens his legs, the right calf strikes the left one behind, the legs half open again, the right calf strikes the left one in front, the legs again open and Aaron lands in fifth position demi plié, right foot behind.

Notice Aaron’s precise timing and the coordinated scissor motion of his legs.

Featured dancer: Aaron Kok

Preceded by a few steps to give impetus, Bruno jumps from one foot, the legs are brushed high in front of the body one at a time, switching past each other. At the height of the jump his body makes a swift half turn change of direction in the air before landing on the other foot in arabesque. The arms pass through fifth position to first arabesque.

Notice how the powerful throw of the first leg sets the height of the jump and how Bruno’s flexibility allows for a 180 degree scissor-split of his legs before landing.

Featured dancer: Bruno Serraclara

Alessandra performs a series of single and double turns on the spot, on pointe and on one leg, while the other leg whips around in a circular motion.

She prepares in a demi plié in fourth position, pushes off into a double pirouette to the right, the right leg placed in passé position. After the rotation, she pliés and relevés on the left leg whist the right leg ‘whips’ from front to side and immediately returns to retiré, which provides the momentum for the next turn after which the motion is repeated.

The body remains upright and the arms move from second position to first position.

Notice how Alessandra’s head spots the same point each time to avoid dizziness and how she maintains level hips and precise alignment throughout.

Featured dancer: Alessandra Bramante

The step resembles a pas de chat with the addition of double circles of the lower legs, either inwards or outwards.

Here Yu performs a Gargouillade en dehors and prepares by taking a step over with the right leg followed by a coupé under to push off the left leg, springing upward and to the right.

Whilst in the air he executes a double rond de jambe en l’lair outwards with the right leg, immediately followed by a double rond de jambe en l’air inwards with the left leg, landing in a demi plié on the right, closing the left foot in front demi plié.

Notice how Yu coordinates the intricate footwork, achieving clear articulation, speed, height and balance throughout the jump.

Featured dancer: Yu Wakizuka

A travelling step that is executed close to the floor and is often used as a linking step particularly for jumps.

Here Andrew performs a series of glissade changé -  three to the right followed by three to the left, each time the feet change and alternate as they close into fifth position.

With the arms in a low first position throughout, Andrew begins with his feet in fifth position right foot in front and makes a demi plié. He glides the right foot to the side along the ground, to arrive a few inches above the ground. The left foot pushes away from the floor and for a moment both knees are straight with feet pointed in the air. The weight is shifted to the right and the left leg slides into fifth position front to meet the right leg in a demi plié to finish.

Notice how Andrew keeps each glissade smooth, level and low to the ground and ensures that both feet glide equally to achieve an even weight transfer.

Featured dancer: Andrew Tomlinson

Usually performed at the barre, this movement helps prepare dancers for big jumps.

Standing in fifth position Jack makes a powerful action extending the right leg straight in front, high above hip level before returning to the starting position.

Using the same leg, he repeats this sweeping motion to the side, back and side again, creating the pattern of a cross.

Notice how Jack controls the decent of the battement, passing through tendu and sliding his foot back to fifth position whilst maintaining straight knees throughout.

Featured dancer: Jackson Dwyer

A few steps at the beginning serve as a springboard for the big jump that follows.

The weight of the body is thrown onto the left leg, which moves forward into fourth position demi-plié. The right leg is thrown straight forward at 90 degrees and Stefano leaps touching the ground again on the right foot. The left leg assumes the attitude position behind the body in the air and is maintained on landing. The arms are raised in open fourth position.

Notice how Stefano is able to protract the jump and create the effect of being momentarily suspended mid air.

Featured dancer: Stefano Varalta

Also called jeté rond de jambe, this exercise is often used at the barre as here.

Sena performs the movement en dehors, her entire leg is carried outwards from the hip joint with a large sweeping movement from front to back in a semi circle. Starting with her leg in a low attitude front, she uses impetus to pass it through a high second position to arrive with it at the back still raised, before lowering the leg to the ground.

This move requires strength and control - notice how Sena works her leg independently without moving her torso at all.

Featured dancer: Sena Kitano

Performed at an angle facing the corner of the room, Kaho executes a relevé on the left leg with a développé ecarté devant. Lowering to demi plié on the left leg she brushes the right leg down through first position and makes a half turn en dedans before sweeping the right leg forward in grand battement en relevé.

She continues into the ‘whip’ by making a swift half turn to the left leaving the right leg at the back in attitude derrière croisé.

As here, Italian fouettés are often performed in succession.

Notice how Kaho clearly demonstrates all the elements of the movement, her arms are co ordinated and she uses just the right amount of momentum to finish the fouetté on balance with her hips and shoulders square.

Featured dancer: Kaho Masumoto.

Characterised by rapid transfers of the body weight from foot to foot in three, small linking steps; this transitional movement can be performed in a variety of ways and directions. Here Helen demonstrates four pas de bourrées in succession with straight legs -  over, under, followed by over and under turning.

Standing on the right leg in preparation with the arms in third position, the left leg extends low to the side and closes in front to a tight fifth position on pointe. The right foot takes a small step side to the right and the left foot finishes the movement by closing to fifth position behind in a demi plié. Helen reverses the action with the right leg closing to fifth behind and ending in front. She repeats the action of both pas de bourrées, this time each with a rotation to the right.

Notice how Helen keeps the steps small and quick, centring her weight and uses the plié with fluid arms movements to transition smoothly.

Featured dancer: Helen Bogatch

A sideways jump resembling a cat-like leap. Filippo takes a preparation step on the left foot then raises the right toe in retiré to the side of the left knee. From a demi plié on the left leg he springs upward and to the side onto the right foot, quickly bringing the left toe to the front of the right knee.

The landing is made almost simultaneously with the right foot landing first in demi plié followed by the left foot closing to fifth position front, bending the knee.

There is a moment during the jump when both knees and feet are drawn up in passé.

Notice how quickly Filippo brings his second foot into position and creates this diamond shape, suspended in the air.

Featured dancer: Filippo Di Vilio

Penchés can be performed solo, standing on the flat of the foot or partnered on pointe, as here.

Mayuko balances on one leg in first arabesque, the other leg extended high behind her body. Keeping her back up, her torso inclines forward towards the floor whilst she increases the height of the back leg to 180 degrees.

Notice how Mayuko starts the penché leading with the back leg, maintaining the connection between her leg and body which creates the classical line.

Featured dancer: Mayuko Iwanaga.

Arabesque means to stand on one leg, with the other leg extended behind. A piqué arabesque is where the dancer transfers their weight, pitching forward with a piercing motion onto a stretched leg on pointe, the other leg lifted in the air behind their body. The arm on the same side as the supporting leg is extended in front, the other is held to the side.

Notice how Sena’s core is lifted up and forward in the position. By evenly distributing her legs and upper back she maintains their connection and is able to balance before moving on.

Featured dancer: Sena Kitano.

Sarah makes a demi plié while extending the right leg to step sideways onto pointe with a transfer of weight. She quickly brings the left leg to fifth position in front and turns to the right with an unwinding motion. By the end of the rotation the left front leg has become the back leg in fifth position.

Sarah executes five soutenues in quick succession, travelling to the right in a straight line with the arms passing from second to first position.

Notice how Sarah controls the turn and by combining it with a precise, sharp piqué, she gives the movement its’ dynamic quality.

Featured dancer: Sarah Chun

Nida steps sharply to pointe with a straight right leg, transfers the weight and raises the left high behind her, bent at the knee to create a curved line.

The arm of the raised leg is held over the head in a curved position whilst the other arm is extended to the side.

Notice how Nida executes the position with one precise movement. The efficient piqué action with the simultaneous raising of the attitude leg, enables her to establish the pose and sustain her balance.

Featured dancer: Nida Aydinoğlu

Jonny begins with a demi rond de jambe en dehors with the right leg. He takes a piqué to the side immediately to demi pointe on the right foot, transfers the weight whilst maintaining a straight right leg and turns a complete turn to the right with the left leg raised behind, bent at the knee in attitude.

The arm of the raised leg is held over the head in a curved position whilst the other arm is extended to the side.

Notice how Jonny’s precision and control throughout the turn allows him to finish the rotation on balance allowing him time to extend the attitude leg to arabesque whilst still on demi pointe.

Featured dancer: Jonathan Hanks

Preparing with the right leg in tendu devant, Alessia steps on the right foot into demi plié and extends the left leg to the side in low second position en l’air, with arms in second position.

She brings the left leg in front of the right leg, steps directly onto pointe on the left foot and turns outward to the right with the right foot placed under the knee of the supporting leg, arms in first position.

After completing the turn Alessia steps forward onto the right foot into demi plié with the left leg extended low in second position en l’air.

Alessia repeats the movements, executing 3 piqué tournés en dehors in succession, the last one with a double rotation that ends with the right leg lowering behind into a fourth lunge position with the arms in arabesque.

Featured dancer: Alessia Petrosino

Often performed in series as here, Aurora travels diagonally with three turns.

She steps directly side on pointe onto the right leg, turns en dedans to the right with the left foot placed in retiré, toe behind the knee. After completing the turn, she switches leg to demi plié on the left leg and the right leg extends low in front in preparation for the next identical turn.

The arms move from second position, changing to first position during the turn.

Notice how Aurora pushes off taking a large piqué step each time - stepping out any less has the potential to disrupt the body alignment and the necessary momentum, particularly when the turns are performed in succession or with double rotations.

Featured dancer: Aurora Piccininni

A pirouette is a complete turn of the body on one foot, here Mayuko performs three rotations inwards towards the supporting leg with the raised leg bent and the toes touching the knee of the supporting leg in front.

She begins in a wide fourth position, right leg in front and executes a relevé to pointe on the right leg, bringing her left leg to passé and turning to the right. The arms transition from third position as she prepares for take off, through second position to join in fifth position as she turns on her balance.

To end the pirouette Mayuko lowers the heel of the supporting leg to the ground and closes the raised leg to fifth position in front into a demi plié.

The power for the pirouette is obtained from a combination of the initial plié, the co ordination and impetus of the arm movement, combined with the spotting of the head.

Notice Mayuko’s precise body alignment throughout and how her head is the last to move as the body turns away and the first to arrive as the body comes back around.

Featured dancer: Mayuko Iwanaga

A pirouette is a complete turn of the body on one foot, here Saeka performs five rotations on pointe to the right.

She begins in demi plié in fourth position, executes a relevé on the left leg bringing her right leg to retiré front. The arms transition through second position as she prepares for take off and join to first position as she turns on her balance.

To end the pirouette Saeka lowers the heel of the supporting leg to the ground, and places the raised leg behind her in a lunge position with her arms in arabesque. The power for the pirouette is obtained from a combination of the initial plié, the co ordination and impetus of the arm movement, combined with the spotting of the head.

Notice Saeka’s precise body alignment throughout and how her head is the last to move as the body turns away and the first to arrive as the body comes back around.

Featured dancer: Saeka Shirai

Performed here in succession, Amber spins 360 degrees on one foot. Turning to the right on pointe and away from the supporting leg, she starts in fifth position right foot in front, makes a plié and pushes off into passé position, the right leg drawn up to touch the supporting leg’s knee.

She completes the rotation, returning to fifth position and uses the momentum to repeat the turn three times adding a double pirouette from fifth at the end, this time with arms in fifth position instead of first position.

Notice how Amber ‘spots’-  by keeping her head and eyes orientated throughout each turn she is able to achieve a controlled and graceful stop in fourth position to finish.

Featured dancer: Amber Lewis

Albert takes a preparatory step croisé with the left foot, followed by a side step to the right with the right foot and performs a grand rond de jambe en l’air en dehors to attitude derrière with the left leg, whilst executing a relevé on the right foot.

Upon reaching attitude he intentionally ‘upsets’ the position by arching and tilting his upper body towards the working leg. The arm of the raised leg is extended to the side whilst the other arm is held over the head in a curved position. To complete the movement he takes three steps turning to the left starting with the left foot.

The focus of renversé is not on the turn but on maintaining the balance in the tilt and arch motion.

Notice how Albert controls and suspends this moment, creating a dynamic, striking pose.

Featured dancer: Albert González Orts

Preceded by a few steps to give impetus, the dancer throws the right straight leg forward in the air, pushes off from the left leg swinging it up and forward to meet the first leg in the air, before landing on the right leg in an open lunge.

Whilst in the air Toni’s body is at an angle as he rotates one and a half times to the left with both legs extended and held together throughout, his arms in fifth position.

Notice how Toni keeps his weight slightly back on take off and focuses on maintaining control throughout the jump.

Featured dancer: Antoni Cañellas Artigues

Beginning and ending in first position where the heels are together and legs rotated outwards, this jump takes off from and lands on both feet.

Saeka bends her knees in a plié, pushes off the floor and jumps with her legs extended and toes fully pointed. She lands softly rolling through the feet, toes first, then lowers her heels into a plié and repeats the jump four more times before straightening her legs to finish.

Notice Saeka’s proper alignment and posture throughout, how she maintains a straight back and ensures her knees are tracked over her toes. This control allows  the power for the jump to come only from the legs, which facilitates the smooth rebound.

Featured dancer: Saeka Shirai

This is a compound step and here consists of a sissone attitude ouverte to croisé, a coupé dessus and an assemblé en avant.

Taking off from both feet, Gemma springs up and forward into the air opening the right leg straight in front and the back leg to attitude. Landing in attitude en l’air in demi plié she immediately changes leg, brushes the right leg forward, pushes off the left leg and jumps to assemble both legs in front, before landing on both feet in fifth position.

During the sissone the arm of the attitude leg is held over the head in a curved position whilst the other arm is extended to the side.

Notice how Gemma generates momentum in the initial sissone as this helps to  achieve the slight travel forward necessary to complete the movement.

Featured dancer: Gemma Coutts

Named after it’s inventor Comte de Sissone, this jump takes off from two feet and lands with both legs closing to a two foot position on the ground.

Here Bruno executes three sissone fermè in succession.

Starting in fifth position right foot front, Bruno jumps forward, his arms in arabesque position and opens his legs with a scissor action, achieving a split position in the air, right leg front, left leg back, before closing to fifth position left foot back.

Notice how Bruno uses a deep demi plié to generate enough height and power for the jump and controls his upper body to ensure a soft landing.

Featured dancer: Bruno Serraclara

To prepare Miguel stands on demi pointe in fifth position, right foot front with the arms in third position. He jumps up vertically, turns in the air twice with the arms in first position and the right leg drawn up into passé, touching the knee of the straight left leg.

He lands taking a large step forward to kneel on the left knee with arms open.

Notice how Miguel pushes off evenly from both feet in the plié which helps to achieve a direct upward motion and keeps the hips level throughout the turns.

Featured dancer: Miguel Teixeira